DP Course Introduction (New Guide)

There are four main components of this course

1. Exploring music in context (SL 30%, HL 20%)
2. Experimenting with Music (SL 30%, HL 20%)
3. Presenting Music (SL 40%, HL 30%)
4. The contemporary music maker - HL only (30%)

1. Exploring music with context

At the end of the course, students submit a portfolio of written work that includes:

a. 2400 words (max) - demonstrating engagement with, and understanding of, diverse musical material

Practical exercises:

b. Creating - score maximum 32 bars and/or audio 1 minute as appropriate to style

b. Performing - one adaption of music from a local or global context for the student's own instrument (maximum 2 minutes)

d. Supporting audio material (not assessed)

2. Experimenting with Music

At the end of the course, students submit an experimentation report with evidence of their musical processes in creating and performing in two areas of inquiry in a local and/or global context. The report provides a rationale and commentary for each process. Students submit:

a. A written experimentation report that supports the experimentation (max. 1500 words)

b. Practical musical evidence of the experimentation process

- three related excerpts of creating (total maximum 5 minutes)

- three related excerpts of performing (total maximum 5 minutes)

3. Presenting music

At the end of the course, students submit a collection of works demonstrating engagement with diverse musical material from four areas of inquiry that contains:

a. Presenting as a researcher

- programme notes (maximum 600 words)

b. Presenting as a creator

- composition and/or improvisation (maximum 6 minutes)

c. Presenting as a performer

- solo and/or ensemble presented as a performer (maximum 12 minutes)

- excerpts, where applicable (maximum 2 mintes)

4. The contemporary music maker (HL only)

At the end of the course, students submit a continuous multimedia presentation documenting their real-life project. Students submit multimedia presentation (maximum 15 minutes), evidencing:

a. The project proposal

b. The process and evaluation

c. The realized project, or the curated selections of it

Working with real-life practices means that the students engage in the reality faced by the musicians in contemporary music-making. This includes musical aspects, such as composing, performing and production, as well as non-musical aspects, such as logistical planning, managing the process, collaboration and so on.

As part of this course, students must experience the following:

1. Diverse musical material

• Four areas of inquiry
• Personal, local and global contexts

2. Musical roles with related competencies

• Researcher
• Creator
• Performer

3. Musical processes

• Exploring music in contexts
• Experimenting with music
• Presenting

The four areas of inquiry (AOI)

1. Music for sociocultural and political expression

Example for relevant musical material may include the following genres:

• Protest songs
• Liturgical songs
• National anthems

2. Music for listening and performance

Example for relevant musical material may include the following genres:

• Chamber music of the Western art tradition
• Cool jazz
• Experimental music

3. Music for dramatic impact, movement and entertainment

Example for relevant musical material may include the following genres:

• Music for film
• Music for ballet
• Music for theatre

4. Music technology in the electronic and digital age

Example for relevant musical material may include the following genres:

• Electronic dance music (EDM)
• Elektronische Musik
• Technology in popular music production

Contexts

Students are required  to engage with the diverse nature of music, looking beyond their own contexts to explore music with which they are unfamiliar, and which will broaden both their cultural and musical perspectives.

1. Personal context

• This includes music that has significance to the student, and that they are most familiar with.
• Students consider their immediate cultural context and interest that contribute to their emerging musical identity.

2. Local context

• This includes music that has local significance, but that may be unfamiliar to the student.
• This can be music from within the student's local, regional or cultural communities, and may include music that the student is not currently engaged with.

3. Global context

• This include unfamiliar music from a variety of places, societies and cultures.
• This may include music that the student has not connected or engaged with. The music may be from a distant global region but may also include music in closer proximity that has not been previously accessible to the student.

ATL skills in DP

• Developing thinking skills
• Communication skills
• Social (collaboration) skills
• Self-management skills
• Research skills